Hossein Behzad considered miniature painting as “poetry in painting” and the highest form of ghazal, placing it above ordinary painting. From his perspective, the task of the miniature artist is to capture and convey the sweetness of life. While a painter merely represents nature with various elements, the miniature artist discovers beauty and presents it in its most exquisite form. In other words, the miniature artist elevates beauty to perfection and, at its peak, gives it a tangible form. With this approach, Behzad named his distinctive style “Ghazal Painting” and acknowledged that his brush sometimes lagged behind his thoughts, compelling him to create multiple sketches before choosing the final composition. He also occasionally referred to his method as “Poetic Painting”, explaining: “The miniature artist, like a painter, must consider the spirit of the age and belong to his era. Like a poet, he must weave the motifs with such harmony and skill that they please both the heart and the eye.” For Behzad, content and meaning always precede form and appearance. First, the idea sparks in the artist’s mind, remaining there until it finds the proper shape and form—the moment he considers the birth of an artwork. In creating much of his work up to middle age, Behzad was influenced by the miniature schools of Herat and the Safavid era, particularly drawing inspiration from the masters Kamal-ud-Din Behzad and Reza Abbasi, whom he meticulously studied and replicated. However, upon becoming one of the leading figures in Iranian miniature painting, he believed that an artist should not merely follow a specific style or set of rules, as adherence could constrain artistic freedom, whereas true art knows no bounds.

The works of Master Hossein Behzad can be categorized into three main groups according to the level of the artist’s creative expression:

Some researchers merge the first two categories and divide Behzad’s works into two broader groups:

A) Traditional Paintings:

B) Innovative Paintings:

As Behzad gradually advanced in his art and gained fame in contemporary Iranian miniature painting, he moved away from mere copying of past works and developed his own distinctive style. Through numerous exhibitions of his works in Iran and abroad, a wide audience of artists and art enthusiasts became acquainted with his creations. In 1324 AH, Behzad, along with a group of other artists, showcased his works at the Fine Arts Exhibition. However, his first major solo exhibition, titled “Behzad’s Booth”, was held in Ordibehesht 1333 AH (coinciding with the Avicenna Millennium Festival, attended by scholars, orientalists, and renowned artists from 64 countries) at the lecture hall of the Iran Bastan Museum. About 30 of his paintings were displayed, including notable works such as “Ferdowsi” and “Iwan-e Mada’in.” The exceptional reception by visitors significantly increased Behzad’s international reputation, leading representatives from countries including France, Italy, Czechoslovakia, and Poland to request exhibitions of his works in their own countries. Thus, Behzad became one of the first Iranian miniature painters to have solo exhibitions abroad. In 1334 AH, the Iran-France Cultural Association invited him to exhibit his works at the Musée d’Art Moderne in Paris. This exhibition featured a selection of Behzad’s works and was attended by the Iranian ambassador to France, the French Minister of Culture, and notable figures such as French orientalist Henri Massé and Jean David Weil, then head of the Islamic Art Department at the Louvre Museum. In Aban 1334 AH, 16 of Behzad’s works were also displayed at the Iran-Germany Cultural Association. His international exhibitions continued in cities such as Prague, Warsaw, Washington, New York, and Brussels, as well as in countries like India and Japan, further cementing his global artistic influence.